Saw him conduct suites from Greystoke and Final Countdown 3 weeks ago in London and he was superb! (That reminds me......must buy Final Countdown!)
Really? I tend to keep fairly abreast of what's happening in London, scouring Time Out and various cultural websites, but this completely passed me by. Or was it not a public performance? I've only seen him conduct once, the Rozsa tribute concert in, I think, 1988, and would have enjoyed hearing him perform his own music.
After listening Intrada clips I immediately ordered CD. I really like combination of orchestra and synth elements. And also my first John Scott soundtrack
The Scarlet Tunic is one of my favorite John Scott scores. It's one of the best of his lesser-known works and well worth getting if you'd like to branch out beyond his more recognized titles like Greystoke and Antony and Cleopatra. Likewise, 20,000 Leagues Under the Sea.
Saw him conduct suites from Greystoke and Final Countdown 3 weeks ago in London and he was superb! (That reminds me......must buy Final Countdown!)
Really? I tend to keep fairly abreast of what's happening in London, scouring Time Out and various cultural websites, but this completely passed me by. Or was it not a public performance? I've only seen him conduct once, the Rozsa tribute concert in, I think, 1988, and would have enjoyed hearing him perform his own music.
John Scott was a guest conductor (along with Debbie Wiseman) at the Film Music Gala at the RAH with the RPO. It was a great concert!
I do not understand the love for this score. To me, it has all the problems of all Scott scores. The action music is more akin to 50s monster music. And he uses the worst instrument of all - the saxophone - as a leading figure in his compositions. I have described Scott's action music as pedestrian before but maybe mickeymousing pseudorosenmanesque nonsense is the best. No offense to the mighty folks at Intrada but this is no holy grail, more just like amateur hour.
thank GOD then that we got this warning from an amateur then... Me myself, I´m happily buying a great sounding score from a great looking 80´s thriller (I guess you do not like the Lethal Weapon music either??)
Anyone who thinks Scott writes 'mediocre action music' needs to be forced to listen to KING KONG LIVES. Not only is it John Scott's best action score, but it's also perhaps one of the very best of the 80's - superseding even the stuff Goldsmith or Williams was writing at the time by a long shot. It's friggin' brilliant.
Anyone who thinks Scott writes 'mediocre action music' needs to be forced to listen to KING KONG LIVES. Not only is it John Scott's best action score, but it's also perhaps one of the very best of the 80's - superseding even the stuff Goldsmith or Williams was writing at the time by a long shot. It's friggin' brilliant.
Coincidentally enough, I got around to listening to it this morning, it's quite good. Not very thematic, but bold. Dynamic, with a spacious sense of menacing grandeur. It's really rather unusual.
Absolutely brilliant and now ordered as I've been waiting a long time for this one. The haunting main theme reprised throughout sounds superb on the samples and I'm also looking forward to hearing the 10+ minutes cue ' Let Her Go Or Die ' in its' entirety.
Got a chance to listen to my copy today and am blown away. Great score!
I ordered it almost on spec because I like almost all the John Scott I've heard. My memories of the film are dim having seen it once when it came out and never again. The samples sounded appealing, so I gave it a shot.
Boy, am I glad I did! I have no idea why the score didn't make more of an impression when I first saw it...must have been a off day for me.
I am surprised at a couple of comments that it is not melodic or tune driven. The main theme is wonderful and is used in many, many inventive ways throughout and gets a good recap in the end titles. I love a good specially composed end title sequence...something sadly lacking in today's market of cut-and-paste bits of the score interspersed with totally irrelevant pop songs in the end credits. John Scott is especially good at great end title cues. One of my favorites is from NORTH STAR (the European release score as opposed to the poor US release version by Bruce Rowland).
I have never been the bigest John Scott fan but since I recieved Shoot to Kill last week I can't stop playing it! Amazing sound and vintage 80s... I know the sax dates this score but for me it makes the score. Some powerful anthemic tracks... and the theme has got to be one of the greatest written for film! Come on people I can't be the only one here!
You know what was special about MR John Patrick Scott, i don't think he ever did a bad score in his life, much underrated, the first score i heard of MR Scott was the opening theme of Beserk-67- Joan Crawford, Michael Gough decades ago, i feel in love with that great theme, he never fail me since.
